Stained Glass.—Ii.

THE ATJKEOLA . We will now touch upon another emblem of glory , similar in character to that of the nimbus , but different in size , form , and position . The aureola , like the nimbus , is intended to represent rays of light , and is frequently drawn in wavy lines . The aureola is , in fact , an enlarged nimbus , and the nimbus

a diminished aureola ; the one is confined entirely to the head ; the other surrounds the whole body . For the reasons given ill introducing the nimbus , the aureola has not that importance when , used alone , which is attached to the simple nimbus , in that case conferring no honour upon the i > erson decorated therewith ; but when

combined with the nimbus , it completes the figure , and is supposed to make the glorification of the representation perfect . It is in fact the symbolic token of supreme power and energy , and therefore should belong to God himself , he being the very centre , as it were , of omnipotence . The Eoman

Catholics , however , extend the aureola beyond the Trinity , and confer it upon the Virgin Mary , ranking as they say she does , superior to saints and angels . She is therefore usually represented in an aureola , but mostly of the oval shape . In the cathedral of Our Lady at Paris , she is framed in an oval of clouds , the field being decorated with stars ; aud in the Campo Santoat Pisain the icture of the last judgment

, , p , I he Virgin is sitting on a rainbow , and surrounded by an aureola . When the church became corrupt , that is in about the thirteenth and fourteenth centuries , the aureola was prostituted to very base purposes—remaining no longer the attribute of divinity , but enshrining equally the souls of mortalswith the person of the Trinity . In Chartres

, Cathedral are many examples of this debasement of Christian art—one in particular being the soul of St . Martin , in an oval aureola surrounded by flames of fire , the aureola possibly representing the power of the Eoman church , which is said to keep the soul free from the smell of fire while undergoing the pains of purgatory .

Dp to the fifteenth century the inner line of the aureola was formed by decided lines , but soon afterwards the well defined border gradually disappeared , and , like the nimbus , it became formed by rays of light or wavy lines . The aureola is of many forms , the most common being that of the " vescia piscis . " It is formed of a perfect ovala circlea quatrefoila cinquefoil ( feein which latter case the

, , , , head , shoulders , i & e ., are made to occupy distinct lobes . In some cases it fits close to the bod y , or assimilates itself to the form of the body , but detached from it . With the Italians the outer line of the aureola is perfect , as in most examples of the Italian nimbus , one of which is

represented m jig . 18 , taken from a miniature of the fourteenth century , in the library of St . Mark . The transverse line is the rainbow , as they are usually drawn by Italians at that epoch . When God

the Father is represented , he is usually sitting , with his feet resting upon a rainbow , a second supporting his back , aud a third pillowing his head . The aureola is chiefl y confined

iu early examples to the two ii rst persons of the Trin ity , b u t the figure of the Holy Ghost may sometimes be found so enshrined . When this is the case , we always find the Holy Ghost forming part of a tableau , in which the two first persons occupy the most

prominent part . Of this 1 gave an example in jig . 7 , treatins- of the nimbus .

Fig . 19 represents God the Son in an aureola of clouds , taking the form of the body ; it is of the tenth century , and a very good example of this kind . The upper and lower

portions are two small circles — the upper containing the head and bust , and the low-er the feet ; the lines confining the body are those of the " vescia piscis "

but cut short at each point by the intercepting circles . Tlie pure oval shape is sometimes formed by branches of trees , which open and leave a vacant

space ; sometimes by wreaths also , each side being reversed . In a miniature of the thirteenth century , Jesus is

represented m an oval aureola , ' ¦>¦ cma uoo . formed by branches of trees , each branch having three smaller branches springing therefrom , on which are three doves ; while the upper portion of both branches support the Dove—the Holy Ghost . These seven doves are to represent the seven gifts of the Spirit , which were conferred upon Christ . Each dove is enclosed in a circular aureola ; but they are devoid of

nimbi . A similar aureola is to be met with at Pome—the aureola in this case being formed by the petals of flowers , the stems of which spring from the branches . In representing God with the aureola , we frequently find a carpet substituted for the lower rainbow , and more or less emblematically figuredbut to represent the heavens as his

, footstool instead of the earth . This does not carry out the beautiful picture , delineafced'in the first Craft lecture— "He has stretched forth the heavens as a canopy—he has planted the earth as his footstool—he has crowned his temple with

stars as with a diadem , and in his hand he extends the power and the glory . The sun and moon are messengers of his divine will , and all his laws are concord . " In the cathedral of Citta di Castello , in Italy , is an oval aureola of the twelfth century , in which Christ appears with a cruciform , nimbus ; on his left the moon ' s crescent ; on his right tho sun spreads his glistening rays ; and in the field of the

aureola shine stars with five points , or lobes , like the rose . One great peculiarity in the aureola as pictured by the Byzantians is , that it takes the shape of a wheel , six rays usually diverging from the centre . In Chartres Cathedral are two or three very good representations of this example . The aureola is frequently used for the Divinitythe Virgin

, , & c , without any other distinguishing attribute , but in most cases it is combined with the nimbus , making then , what is termed by the most celebrated of the Christian archaeological authorities of the present day ,

'CHE PERFECT GLOKV . In jig . 19 , the upper circle of the aureola forms the nimbus itself , the field being decorated with the cross bars , but in most other examples the nimbus is kept entirely distinct and separate . The glory is popularly applied to the nimbusand nob

, without reason , where that alone is used ; but if we take the glory of God , as described by Ezekiel , we shall see at once that the aureola alone can fully convey that idea . He says , "Then I beheld , and lo , a likeness as the appearance